fri 08/11/2024
Home > classical > BBC Proms: Swan Lake, Mariinsky Theatre Orchestra, Gergiev

BBC Proms: Swan Lake, Mariinsky Theatre Orchestra, Gergiev | reviews, news & interviews

BBC Proms: Swan Lake, Mariinsky Theatre Orchestra, Gergiev

BBC Proms: Swan Lake, Mariinsky Theatre Orchestra, Gergiev

Listening to a ballet without its pictures frees the original composition

by Monday, 15 August 2011
Share
Valery Gergiev: he conducts ballets with his eyes determinedly shut, I think© Chris Christodoulou/BBC

The fact that the world’s most popular ballet score had never, until last night, been performed in full at the Proms says something about the lowly regard in which musical circles long held composition for ballet. The fact that the Albert Hall’s capacity audience bayed six times for Valery Gergiev’s return to take their appreciation of his and the Mariinsky Theatre Orchestra’s performance of it last night says something about it being about time that musical circles stopped being so snobby.

The fact that the world’s most popular ballet score had never, until last night, been performed in full at the Proms says something about the lowly regard in which musical circles long held composition for ballet. The fact that the Albert Hall’s capacity audience bayed six times for Valery Gergiev’s return to take their appreciation of his and the Mariinsky Theatre Orchestra’s performance of it last night says something about it being about time that musical circles stopped being so snobby.

Comments

Submitted by David N (not verified) on Tue, 16/08/2011 - 06:16
A fascinating perspective, Ismene. I think you're quite right that the music speaks transcendence and triumph at the end, by which time the swan theme has moved from its frail beginnings on oboe against harp and strings, and in the minor, to full orchestra, fortissimo. and in the major. Quite a few folk seem to have been misled into thinking that the end has been tampered with too - it hasn't, though it's been a bit cut. I just think it was a shame Gergiev bypassed the chance to present the last act in concert as Tchaikovsky seamlessly wrote it - and his last, melancholy swans's dance, which we just didn't get, is a much finer piece of music than any of the Op. 72 piano pieces featured, in any shape or form. The difference is our perspectives: you see the Petipa/Ivanov choreography in the concert hall, I'm outraged to miss the 'right' music in the ballet theatre.

Submitted by waldteufel (not verified) on Tue, 16/08/2011 - 10:29
The Birmingham Royal Ballet's magnificent Samsova/Wright production has a much fuller edition of the score and excludes all Drigo's interpolations.

Submitted by pink lady (not verified) on Thu, 18/08/2011 - 13:51
Very interesting angle – I thought it would be frustrating to listen to the music without having some Swans popping around, but – at least under your pen – the score proved to be self-sufficient! Regarding the last paragraph, I personally think dancers should have their say as well as singers, as they need the music to suit them to do their best. Also, from Marius Petipa’s Memories, we know he used to give very strict instructions to Tchaikovsky for his new commissions, mentioning the length, time signature, kind of dance he wanted, if it was for a solo or a corps etc. for each part of the ballet, minute by minute. So the music may not have always come first? (unfortunately I don’t have the book at hand, but I wonder if he didn't choreograph occasionally before getting the music..)

Add comment

Subscribe to theartsdesk.com

Thank you for continuing to read our work on theartsdesk.com. For unlimited access to every article in its entirety, including our archive of more than 15,000 pieces, we're asking for £5 per month or £40 per year. We feel it's a very good deal, and hope you do too.

To take a subscription now simply click here.

And if you're looking for that extra gift for a friend or family member, why not treat them to a theartsdesk.com gift subscription?

more Classical music

Kolesnikov, Hallé, Elts, Bridgewater Hall, Manchester review - the dude who dazzles Fun French music forms a foil to naked, virtuoso pianism
Fauré Centenary Concert 5, Wigmore Hall review - a final flight The master of levitation in transcendent performances from Steven Isserlis and friends
Ohlsson, BBC Philharmonic, Storgårds, Bridgewater Hall, Manchester review - grace and power in Brahms A time-travelling journey through the Austro-German Romantic tradition
Fauré Centenary Concert 1, Wigmore Hall review - Isserlis and friends soar Saint-Saëns is no also-ran in the opening event of a wondrous homage
'His ideal worlds embraced me with their light and love': violinist Irène Duval on the music of Fauré On the centenary of the great French composer's death, a fine interpreter pays homage
Aci, Galatea e Polifemo, La Nuova Musica, Bates, Wigmore Hall review - thrilling Handel at full throttle Vibrant rendering filled with passion and delight
Hallé, Wong, Bridgewater Hall, Manchester review - Bruckner’s Ninth completed Kahchun Wong takes Manchester audience on an epic journey
The Orchestral Forest, Smith Square Hall review - living the orchestra from the inside Immersive concert explores the plight of the British rainforest through music
Classical CDs: Leaves, prisms and sub-bass A great pianist bows out, plus two cello discs and a new organ's first outing
First Person: Bob Riley on Manchester Camerata's championship of a Centre of Excellence for Music and Dementia Making a difference out of the musical ghetto
Aurora Orchestra, Collon, Drumsheds review - surround-sound magic in the super-club On a vast dancefloor, the chance to listen from inside the orchestra
Kaleidoscope Chamber Collective, Wigmore Hall review - warm and colourful Bartók and Brahms Versatile chamber ensemble excels in clarinet-focused repertoire

newsletter

Get a weekly digest of our critical highlights in your inbox each Thursday!

Simply enter your email address in the box below

View previous newsletters